Saturday, February 15, 2014

Much can and has been said about the frenetic fiddle genius, Scotty Stoneman. I'm convinced that between what has been written and rumoured about Stoneman are some tightly wound strands of fact and fiction. Stories abound of his outrageous character, and if a great deal of us tend to believe these tales (did he really hate pianos so much that as an act of defiance he defecated in one?), perhaps it is because it would be a step towards explaining his outrageous playing.
I won't recount his entire story here, it has been told enough that a simple Google search will do that. A great deal of his current profile is that he was a member of one of Country Music's founding families, Jerry Garcia has called him "the Charlie Parker of the Bluegrass fiddlers", and he died young and tragically of a legendarily reckless lifestyle.
Of course, the main thing that keeps his name coming up over forty years after his death is his unique and virtuosic playing. Much has been said about his improvisatory approach, and his extended solos. What seems to be less often noted is his command of advanced chord theory, so evident in his double stops. As far out as his playing gets, he never seems to be lost, rhythmically or melodically.
Although Scotty played on a great deal of classic Bluegrass recordings, he really only had one instrumental LP released in his lifetime, and it was on a dimestore label at that. A second LP of live recordings appeared after his death, and these have been the two releases that have carried his radical fiddling to the ears of successive generations.
"Mr. Country Fiddler" was recorded in 1967 at Unity Recording Studio in Washington, D.C. with Country Gentlemen alumni Bill Emerson on banjo, Charlie Waller on guitar, and Tom Gray on bass. It was released on Pickwick's super-budget Design imprint, and was probably recorded to be sold to Pickwick for some ready cash (Emeron and the Country Gentlemen both did the same for the label). As is the nature of recordings under such control, the tracks have been recycled on various collections through the years.
"1965 Live In L.A.!" was first issued on LP in 1978 from tapes of live shows he played with the Kentucky Colonels during his short stint with the band. These performances with the young White Brothers are probably the most spontaneous committed to tape during his lifetime, and despite some imperfections in the source tapes, are still sparklingly exiting to listen to today (as well as giving us a chance to hear his excellent vocals, which are a whole other topic in and of themselves). The version in this download is a hybrid of the LP and CD releases; it contains all selections included on both.

Monday, February 10, 2014

One of the most common requests I receive from followers of the Scratchy Attic is to post LPs by Hawkshaw Hawkins and Cowboy Copas. Interestingly, people usually request both artists together, as in "Can you post some albums by Hawkshaw Hawkins and Cowboy Copas?" Of course, the only definite association between the two artists, besides having recorded for the King label, is that both perished in the March 5, 1963 plane crash that also claimed the lives of Patsy Cline and manager Randy Hughes, who was also Copas' son-in-law. In response to said requests, I offer this pair of albums.
"A Country & Western Cavalcade" appears on the mysterious Gladwynne label. The albums' jacket and labels contain no address or parent company, and all I know about Gladwynne is that about fifteen releases, mostly pop and jazz, appeared on the label in 1962 (some discographies list this LP as being released in 1959, but I believe that is false). One of the rarer Hawkins LPs, it contains eight of his early King recordings, clearly taken from 78 rpm sources. Whether this release was officially sourced from King Records or not is unknown, but it seems doubtful. Perhaps such illegitimacy accounts for the label's short run and obscurity; these LPs were probably made quickly on the cheap to be sold by hinterland dimestores.
Of a more legitimate nature is the Cowboy Copas LP on Starday's budget Nashville label. Using his 1960 hit "Alabam" as a title track, it features eight of his early 60's Starday recordings along with two instrumental tracks, "Oklahoma Swing" by Tommy Hill's String Band (a Starday Studio band that released an LP, SLP-210 in 1963) and "Texas Quick Step" by Red Hayes and Hank Singer. Padding releases by a name artist with two anonymously credited instrumental tracks was common on early Nashville label LPs.

Hawkshaw Hawkins
"A Country & Western Cavalcade"

Tracks:

1. I'll Never Cry Over You
2. I Ain't Goin' Honky Tonkin' Anymore
3. Everybody's Got A Girl But Me
4. Be My Life's Companion
5. I Can't Tell My Broken Heart A Lie
6. Dog House Boogie
7. A Heartache To Recall
8. I'm Waiting Just For You

Tuesday, February 4, 2014

Back in 1991, when CDs had pretty much taken over the market, CBS released a series of "Columbia Country Classics" issues which included five volumes chronicling the evolution of Country Music, plus individual collections by some of the big names in Columbia's catalog (Roy Acuff, Bill Monroe, Ray Price, Marty Robbins, etc.). While most of these issues received wide circulation, the present collection seems to have been lost in the shuffle (I picked up my copy in a discount bin not much more than a year after its release). Perhaps the problem was that people mistook it for a collection of Hank Williams' recordings - it is not, nor is it a crass attempt to market cover versions as originals. "Hank Williams Songbook" is a fascinating collection of twenty recording presented in chronological order; the first fifteen tracks are songs of Hank's recorded by his contemporaries during his lifetime, the last five are covers by other artists made in the seven years after his death.
An outline of the contents is given in the liner notes:

Has anyone so dominated Country music from an early grave
as Hank Williams? Even today, he is the benchmark by which success in the field is measured.
Seemingly every aspect of his professional and private life has been dissected,
like the Russians once dissected Lenin’s brain, trying to analyze the magic
stew of ingredients that made him special. If one sidebar to Hank’s career
remains murky, it’s his prolificacy as a custom songwriter. This collection
goes a great distance toward addressing that shortfall. The first fourteen
songs were mostly written by him for other artists while he was alive; the
remainder are among the first attempts to reinterpret his legacy after his
death.

When Hank came to Nashville in 1946 it was to audition as
a songwriter Acuff-Rose Music. His first customer was Molly O’Day. Bern Lois
LaVerne Williamson in Pike County, Kentucky, she re-christened herself Molly
O’Day in 1942, and sang in the full-throated mountain style. The first Hank Williams
song she cut, “When God Comes And Gathers His Jewels,” was one that Hank
himself had five days earlier

at his first session. There would be four others,
including “On The Evening Train,” the only song on which Hank’s wife, Audrey,
is listed as co-composer, and “I Don’t Care If Tomorrow Never Comes,” another
song that Hank recorded for Sterling at his second session.

Hank’s best-known
hymn was probably “I Saw The Light.” His version was cut in April 1947, but not
released until September the following year. By then, Roy Acuff, one of the
partners in Acuff-Rose, had recorded and released it. The song, based on Albert
Brumley’s “He Set Me Free,” was as tailor-made for Acuff as it was for Williams.
Acuff had been one of Hank’s heroes during the lean years, and it must have represented
deep personal gratification when he cut the song.

Curley Williams (no relation to Hank, incidentally) was born
in south Georgia; his given name was Doc. He was the seventh child, and,
according to family lore, the seventh child would be a doctor; instead, he was
a fiddle player. He and Hank shared the stage at the Louisiana Hayride where Hank
jump-started his career in 1948. Hank later recorded Curley’s song “Half As Much,”
and Curley cut three songs that he and Hank wrote jointly.

Curley rarely took the lead vocals; on “No, Not Now” we
hear Hayride stalwart Jack Ford with Curley’s daughter, Georgia Ann. We do hear
Curley on “Honey Do You Love Me, Huh?,” though, as well as his regular lead
vocalist, Boots Harris, and Georgia Ann. The Peach Pickers’ bass player Joe
Gibson took the lead on “When You’re Tired Of Breaking Others Hearts.”

Carl Smith became one of the best-selling country artists
of the ‘50s, but in January 1951, when he cut Hank’s “There’s Nothing As Sweet
As My Baby,” he had yet to see his first hit. Smith was born in Roy Acuff’s
hometown, Maynardsville, Tennessee, and probably met Hank when he was his guest
on WSM’s Duck Head Overalls show in 1950. By January 1951, both artists had
regular timeslots on WSM as well as the Opry. Hank gave Carl “There’s Nothing
As Sweet As My Baby,” which he later contended he wrote for his son, Hank Jr.
If so, that may account for its nursery rhyme quality. Smith placed it on the
flip side of the record that turned out to be his breakthrough, “Let’s Live A
Little.”

Another struggling singer who received Hank Williams’
help at a critical juncture in his career was Ray Price. Raised in Dallas,
Price had moved to Nashville to join WSM shortly before Audrey Williams kicked
Hank out of the house. Hank moved in with Price for a while, and gave the young
singer three of his finest songs, telling him “what you need little buddy is a
hit record to get you started.” None of them was that elusive first hit, but,
after Williams returned to Shreveport in late ‘52, Price took over his band,
the Drifting Cowboys, for a couple of years.

Quite how George Morgan came to record “A Stranger In The
Night” is something of a mystery. Morgan wasn’t one of Williams’ favorite acts,
although they shared the Opry stage. The song, surely one of the little-known
gems in Williams’ catalog, probably devolved to George because the co-writer
was George’s brother, Bill Morgan.

Jimmy Dickens was another Opry regular; he and Hank were
booking out together on Opry touring packages when Dickens cut “I Wish You
Didn’t Love Me So Much.” It was a barbed song laced with Hank’s grim humor that
he re-cast as a talking blues under the title “Please Make Up Your Mind” in
July 1952. His version appeared under the disguise of Luke the Drifter;
Dickens’ version wasn’t released at the time— except, unaccountably, in Canada.

Now we move on to the artists who reinterpreted the Hank
Williams songbook after his death. Anita Carter, one the daughters of Mother Maybelle
Carter, was still working wish her mother and sisters when they joined Columbia
in 1953. Hank’s original of ”There’ll Be No Teardrops Tonight” was buried on
the flipside of “Mind Your Own Business.” Columbia framed Anita’s version with
a string section, surely one of the first experiments in blending hillbilly
instrumentation with strings.

Marty Robbins’ first number one hit, “I’ll Go On Alone,”
shared the top slot with the last record that Hank Williams released during his
lifetime, “I’ll Never Get Out Of This World Alive.” Marty revived “Long Gone
Lonesome Blues” in September 1955, when some of the twitchy energy of
rockabilly was creeping into country music. In January 1957, he cut his first
12-inch album (in a shade under two hours!); among the songs was a bristling
revival of “Moanin’ The Blues.”

Marijohn Wilkin is best known us a songwriter (“Long Black
Veil” etc.), but in 1960 she still held fast to the notion of making it as a
singer. Her reading of “Cold, Cold Heart” owns more to Tony Bennett’s recording
of the song than Hank’s original.

We close with Johnny Cash, an artist whose stunning
originality and top rank songwriting skills made him the first serious
challenger for Williams’ crown. In February 1960, Cash was recording some of
his favorite hits by others for a collection called ‘Now, There Was A Song,”al
so notable as the first occasion on which he employed standard country instrumentation.
Cash’s inevitable nod to Hank Williams was “I’m So Lonesome I Could Cry,” a
song that echoed the feel he strove for in his own writing.

Those who knew him say Hank Williams was resolute about
keeping what he considered his best material for himself, but what we find in
his custom-written songs are not so much rejects as songs that didn’t fit his
needs at the time. As an added fillip, there are five songs here that haven’t
even surfaced in demo form by Hank. They highlight a collection that
illuminates one more corner of Hank Williams’ brief, incendiary career.

Saturday, February 1, 2014

This beautiful gatefold 2 LP set was released on RCA's series of historic Bluebird reissues in 1975. An early example of the kind of dedicated treatment such collections would come to receive in the CD era, it features 32 of Bill Boyd's classic sides 1934-1950, as well as recording dates, session details, and detailed notes as follows:

BILL BOYD’S COWBOY RAMBLERS

THE MUSIC

Mention “Western Swing” to a Country Music buff and
certain thought patterns emerge—The Southwest, hardwood dance floors, the
hanging smoke fog, and good spirits in one form or another. Occasionally a few
fists would fly, too, but this need not be surprising when one considers the
setting.

As a Country Music sub-genre, Western Swing was the Southwest’s
response to the big dance band. This music evolved in Texas during the
mid-1930s as an outgrowth of the rural fiddle bands, but was also heavily
influenced by other musical forms such as the jazz bands, “pop” orchestras and
neighboring Mexican ensembles. Two or three-piece fiddle bands had long been in
use for dances in smaller environs, such as at “house parties” in rural homes.
But the larger dance halls required a heavier, louder sound and the Western
Swing band fulfilled this need through the addition of rhythm instruments such
as piano, banjo and drums. Amplified steel and standard guitars also joined the
fray and even horns occasionally. Such bands were naturally attractive to the
thousands of urbanized, ex-rural folk who hungered to dance to an acceptable
sound not totally divorced from the one they recalled “back down home.”

The use of “Western Swing” as accepted definition for
this blending of rural hillbilly music with other elements didn’t occur for
more than a decade after the music’s inception. Some interim descriptive
attempts in trade circles included “Novelty Hot Dance,”“Old Time Singing and
Playing” and “Hot String Band.” A 1939 Bluebird Record Catalog of “Old Familiar
Tunes” spotlighted such recordings as “Of Special Interest to Coin Operators,”
for the coin-operated jukebox’s impact on record sales had become significant
and the jukebox was now a permanent fixture in cafes and restaurants. More
important, however, it had also assumed a role as THE dance band at some establishments where the expense of
providing live dance music was prohibitive. Thus, recordings by Western Swing
bands were sought after by jukebox operators, particularly in the Southwestern states.

By July, 1941, an issue of Victor Record Review was approaching a final definition of this
musical style when it used a subject heading of “Texas Swing” in listing the
latest Bluebird label releases by various Texas and Louisiana groups. Finally,
in 1946, Spade Cooley was dubbed with the title “King of Western Swing.”
Spade’s fancy arrangements and unusual instrumentation, even including
classical harp, had met with great success in California, where he
headquartered, and earned him this nickname in a contest held by The Boots and
Saddle Club. Thus the appellation, “Western Swing,” gradually became popularly
used to describe the musical sound created by these larger Country-oriented
dance bands.

While its debt to other musical styles, particularly jazz,
can’t be minimized, Western Swing had to retain sufficient rural Country flavor
to be accepted by the folk. This was not all that restrictive, however, for the
style of musical output would still vary from one Western Swing band to
another. Milton Brown’s Musical Brownies for example, achieved great success in
recording without the use of horns. Bob Wills’ Texas Playboys, on the other
hand, employed horns successfully on many recordings. The sheer size of the
Wills band in the pre-War years enabled it to vary its sound from Country to
Swing or Jazz even in the middle of a single performance. But the Wills band
could and did continue to perform the Country sounds, too, which allowed it to
retain that base or rural support despite its occasional forays into non-
Country idioms. Another top flight group which had no fear of losing the
support of loyal, Country fans was the Cowboy Ramblers. Led by Bill Boyd, with
able assistance from younger brother Jim, this band’s output was primarily an
all-string Western Swing repertory from beginning to end, with horns or drums
used sparingly.

THE BOYDS

William Lemuel (Bill) Boyd was born September 29, 1910,
in Fannin County, Texas and Jim’s arrival came four years later on September 28,
1914. Their parents, Lem Boyd and the former Molly Jared, were natives of the
middle Tennessee town of Cookeville (Putnam County), where their ancestors,
William Boyd and William Jared, had settled their families after having served
in the Revolutionary War under General Washington.

Lem Boyd chose to join the migration westward in August,
1902. Texas was chosen as a destination when he heard rumors of more potential
for money there. The family initially settled near Whitewright (Grayson County),
but moved to nearby Fannin County in late 1903 where they established a
320-acre cattle ranch/cotton farm four miles southwest of Ladonia.

With thirteen children in the family, the Boyd Ranch was
operated mostly by family members although some hired help was necessary,
especially at harvest time. Chores for Bill and Jim weren’t unlike those
encountered by other farm boys, including laborious hoeing and picking in the
cotton fields, riding, roping and a host of other duties. Thus to brand Bill
and Jim as drugstore cowboys would be inappropriate as they were indeed the
real thing.

Music surrounded the Boyd children on the ranch. Lem Boyd
was a tenor singer and Molly often sang old ballads to the family. Old
phonograph records were present as was the battery-powered radio. Then there
were hired hands on the ranch who, at day’s end, would often play and sing
western songs. True to form, Bill obtained a mail order guitar and in due time
was performing alongside the ranch bands.

In 1926, Bill and Jim, along with two rural neighbors,
Howard and Bill Staley, were invited to perform on Greenville radio station
KFPM. No money was involved in their radio debut, but they came away convinced
that guitar pickin’ was a preferable career to cotton pickin’! Despite their
radio debut, however, work on the farm had to continue and their
responsibilities became even heavier due to the death of their father that same
year.

By 1929, farming had become less lucrative and the family
decided to lease the farm and move to Dallas and sample city life. Bill had
completed his schooling and, along with other family members, sought employment
to make ends meet. Jim enrolled at Dallas Technical High School where he met
Audrey (Art) Davis for the first time. As classmates, they performed in the
school band; Art on clarinet and Jim on guitar. Art was also becoming
proficient on fiddle and mandolin which prompted Jim and Art to volunteer their
musical services (in “down home style”) for school assembly programs. The first
Cowboy Ramblers band was thus taking shape.

Due to job scarcity and tight money in general, Bill was
forced to accept any employment opportunity that came along and labored in
positions ranging from department store delivery boy to roofer. His longing for
a musical career had not waned, however, and he continued to cast an eye in
this direction.

A big turning point for Bill came when he and two
friends, O. P. Alexander and Red Stevens, auditioned for station WFAA and were
hired for an early morning show. Dubbing themselves “Alexander’s Daybreakers,”
Bill performed on guitar and sang, O. P. blew harmonica and Red tickled the
mandolin strings. Audience response was sufficient to keep the show on the air
for two years whereupon, in 1932, the Cowboy Ramblers were formed. WRR then
became base of operations for Bill, and for Jim, too, as one of the Ramblers’
charter members.

The musical careers of both Boyds were now on the
upswing. Bill continued to front the Cowboy Ramblers on WRR for more than two
decades. Except for a tour of duty with the Light Crust Doughboys band in 1938-1939,
Jim remained a member, too, and would assume leadership responsibilities when
Bill was away on other business, such as personal appearance tours. Jim also
recorded for RCA during 1949-1951 with his own band, The Men of the West. Here
Jim vocalizes on Wah Hoo and I’ve Got Those Oklahoma Blues and sings
in duet with Bill on I’m Gonna Hop Off
the Train (their first recording), Going
Back to My Texas Home and I’ve Got
the Blues for Mammy. Bill solos on The
Strawberry Roan, The Windswept Desert (Desert Blues), Mama Don’t Like No Music,
Fan It, Singing and Swinging for Me and teams with Curly Perrin on ‘Way Out There. Curly performs the vocal
on Guess Who’s in Town.

Hollywood’s motion picture industry beckoned Bill in the
early 1940s. His manager at the time was Jack Adams who was, also, a motion
picture distributor and a PRC (Producers Releasing Corporation) franchise
holder. With Bill’s recordings achieving wide success, Jack convinced PRC that
movies with Bill in a starring role would have box office potential. This
effort by Adams resulted in six movies by Bill for PRC: “Texas Manhunt,”“Raiders
of the West,”“Rolling Down the Great Divide,”“Tumbleweed Trail,”“Prairie Pals,”
and “Along the Sundown Trail.” Jim played a leading role, too, in “Tumbleweed
Trail” and starred in the Astor Pictures production “Saturday Night Square
Dance.”

Interestingly, younger brothers John and Clyde Boyd also
journeyed into music. John picks on steel guitar on several Ramblers’
recordings, including the versions of Boyd’s
Tin Roof Blues and Spanish Fandango
heard in this set. In addition, he also formed his own band, The Southerners,
and completed a recording session with them in 1937. John met an untimely death
in a motorcycle accident in 1942.

Clyde, while not a participant in the Ramblers’
recordings, did become teacher of guitar and, at this writing, manages the Boyd
School of Guitar in Dallas which has been in operation for over 40 years since
its founding by Bill in the early 1930s.

By the mid-1950s the musical airwaves were fast becoming
sole property of the platter-spinning deejays, resulting in the demise of live
musical programming on the local station level. This also signaled an end to
the Cowboy Ramblers and forced Bill and Jim to join the deejay crowd. Bill
continued to perform in this capacity until his retirement two years ago and
Jim still spins the discs today on a part-time basis, though laboring full time
as a housing contractor.

THE BAND—ITS RECORDINGS AND SIDEMEN

The bleak Depression year of 1932 witnessed the formation
of the first Cowboy Ramblers band on radio station WRR. The band was comprised
of Bill and Jim Boyd on guitars, Art Davis on fiddle and Walter Kirkes on
4-string banjo. The band members, other than Bill, were actually WRR stall
musicians and, as such, derived their income from the station. Bill would
purchase the necessary time for his daily program from the station, which
included talent costs, and would then sell the program to local sponsors. As
staff musicians, the band members would also perform on similar musical
programs throughout the broadcast day, such as Roy Newman’s “Noon Hour
Varieties.” For Bill’s personal appearances requiring a band’s presence, such
as at fair dates away from Dallas, he would resort to a “pick-up” band of
musicians desiring such work. Most recording sessions required the augmentation
of his radio group with musicians from the Light Crust Doughboys and/or other bands
in order to achieve a fuller sound. Since this meant using some non-WRR
personnel, their recordings would vary from the music heard on their WRR radio
programs.

Despite the success of Bill’s recordings with jukebox
dancers, live dance dates for Bill and the Ramblers were rare. Bill’s prime
interests were in his daily radio shows, fair and theater dates, plus his
recordings. His narrowed activities made some sense, for to play dance dates
would have meant further augmentation of his radio band or else the formation
of new “pick-up” bands. Though plenty of musicians were available for such
duty, it was felt that any potential gain was not worth the problems involved.

The Ramblers’ recording career was launched as a result
of the interest of a district manager for Victor Records who had heard the band
perform and recommended them for a recording contract in 1934. This marked the
beginning of a relationship that spanned seventeen years. All of their records
were issued on Victor’s Bluebird label prior to 1946 with subsequent releases
appearing on RCA Victor.

For their initial recording session in San Antonio’s
Texas Hotel on August 7, 1934, the Ramblers were basically a four-piece fiddle band.
Performances were mostly western-flavored selections, such as The Strawberry Roan (heard herein), or
fiddle instrumentals like The Lost Wagon
(actually Soldier’s Joy) and The Ramblers’ Rag, also presented here.
Personnel in the band consisted of the same foursome that comprised the
original 1932 group.

The band’s movement toward Western Swing was apparent by
the second recording session in January, 1935, also at San Antonio’s Texas
Hotel, when the band, enlarged by one to include piano, recorded varied
selections ranging from Handy’s St.
Louis Blues to Wagner’sUnder the Double Eagle, not to mention
eight other selections from diverse sources. Such song borrowing from other
musical traditions continued for their remaining sessions of the 1930s,

A later session in August, 1935, marked the addition of
another guitar for heavier rhythm and in February, 1936, the Ramblers recorded
with their first amplified instrument. This was the steel guitar of Wilson
“Lefty” Perkins, played in Bob Dunn’s trumpet-emulating style. Dunn pioneered in
steel guitar amplification and made the first such recordings with his crude
contraption in 1935 as a member of Milton Brown’s Musical Brownies.

Recording for their fifth time in October, 1936, a second
fiddle was added and the band now numbered seven. By the March, 1937, session
an eighth instrument came aboard in the form of a clarinetist plucked from the
Musicians’ Union rolls expressly for the session. The band’s size finally
peaked at ten for the sessions of September, 1937, in Dallas and April, 1938,
in San Antonio.

The Ramblers’ 1940s and 1950s recordings stressed the
newer songs, including some of their own composition. The band maintained a
Western Swing flavor, however, except for a New York session in June, 1945,
which utilized New York musicians who had little or no feel for the western
style.

Fortunately, Bill’s other sessions throughout the years
featured musicians who indeed were capable of injecting true enthusiasm into
their playing. It, therefore, seems fitting that some of these featured
instrumentalists on fiddle, piano and steel guitar be singled out for their
contributions to this set.

Jesse Ashlock
(fiddle): Initially a breakdown fiddler in his native Texas style, Jesse
developed into a top Western Swing fiddler by learning “licks” directly from
Cecil Brower, Clifford Gross and others. He also admired the recordings of jazz
violinist Joe Venuti and learned from them. Jesse’s fiddle comes to life here
on Saturday Night Rag, a tune he
learned directly from Kentucky fiddler Clifford Gross when Gross was a member
of the Light Crust Doughboys in Fort Worth. He, likewise, performs on Goofus and sings on River Blues, better known as Ready
for the River. Jesse’s tenure with the Cowboy Ramblers and WRR was brief,
but his efforts on Bob Wills’ recordings of the ‘30s and ‘40s are numerous.

Cecil Brower
(fiddle): No ordinary fiddler by any means, the late Cecil Brower studied music
and violin at Texas Christian University but, except for stints with the Dallas
Symphony Orchestra and with Ted Fio Rito, he chose fancy fiddlin’ over violin
playing. Cecil was prominent on all of Milton Brown’s recordings and did some
sessions with the Light Crust Doughboys and Bob Wills, as well as with Bill
Boyd. Here he performs on Draggin’ It
Around(Draggin’ the Bow),Beaumont Rag and What’s the Use. He had his own band in Odessa, Texas In the late 1940s
and was on network TV during the mid-1950s as a member of Bill Wimberly’s band
on “Ozark Jubilee.” In the early 1960s he performed on ABC-TV’s “Jimmy Dean
Show” and later worked on various recording sessions in Nashville.

Art Davis
(fiddle): Art studied music during his high school days and played clarinet,
fiddle and mandolin. Both Bill Boyd’s first and last recording sessions
featured Art on fiddle. An examination of The
Ramblers’ Rag, Barn Dance Rag and
Lone Star Rag will reveal his fine
artistry. He also doubled on mandolin on

some early cuts, such as Barn Dance Rag and sings here on
I Can’t Tame Wild Women. Art acted
and performed musically in a number of B-Western movies with Gene Autry for
Republic Pictures and with Bill “Cowboy Rambler” Boyd for PRC. He had a
starring role in various films, too, including “The Masked Phantom” and “Texas
Marshall.” Art fronted his own band, The Rhythm Riders, for several years after
World War II.

Carroll Hubbard
and Kenneth Pitts (twin fiddles): The tightly- knit fiddle harmony of these
two artists on New Spanish Two-Step, La Golondrina and Spanish Fandango can easily project one’s thoughts to Mexico’s
mariachi sounds, one of the many Western Swing influences. Both Hubbard and
Pitts can comfortably perform in wide areas of the musical spectrum.

Carroll studied at the Fort Worth Conservatory of Music
and later at the Guild Hall School in London while in military service during
World War II. However, he always enjoyed Country Music and joined the Light
Crust Doughboys after the War. At this writing he performs with a three-piece
Country group at a Dallas night spot and, also, turns violinist
(continental-style) for special occasions, such as wedding receptions.

Kenneth was performing as a self-educated musician on his
1930s sessions with the Light Crust Doughboys and Bill Boyd, but later, in 1953,
acquired a master’s degree in Music Education. His diverse background includes
a tenure with the opera in Fort Worth and service as music director for radio
station WRAP for several years. He teaches music today and is musically active
in the church he attends.

John W, “Knocky”
Parker (piano): Western Swing served “Knocky” well as both a training
ground for performance and springboard to success as a jazz pianist. During his
tenure with the Light Crust Doughboys, he became fascinated with Doughboys
banjoist Marvin Montgomery’s slurring chords and found them adaptable to his
piano playing. (Marvin, incidentally, can be heard supplying his fine banjo
back-up on various selections here. Please consult the discography.) “Knocky”
has since described his piano playing as “distinctly Marvinesque.” He augmented
the Ramblers on several recording sessions and shines here on Joe Sullivan’s Mill Blues (Gin Mill Blues), which he
also recorded with the Light Crust Doughboys one month after the Boyd session.
Today, “Knocky” is a University teacher of English, but continues to perform
and lecture at jazz concerts.

Wilson “Lefty”
Perkins (steel guitar): As the nickname implies, Perkins performs
lefthanded on steel. The strings, however, are not reversed and remain in a
righthand performing position. “Lefty” came to Fort Worth from Denison, Texas,
and “made the rounds” with various bands, including the Cowboy Ramblers,
Universal Cowboys, Light Crust Doughboys and the Musical Brownies under Durwood
Brown’s leadership. “Lefty” had a high regard for Bob Dunn’s steel playing and
performed with Bob on twin steels as a member of Major Kord’s Hi Flyers in
Eagle Pass, Texas, on “Rancho Grande Roundup” in 1937-1938. His arrangement of New Steel Guitar Rag was a best-seller
for the Cowboy Ramblers. “Lefty” continues to be musically active in the Fort
Worth-Dallas area.

Andrew Schroder
(steel guitar): Andy came to Fort Worth via Corsicana where he had performed as
a Hawaiian guitarist. He switched to amplified steel and became a member of the
Hi Flyers who were being re-organized in preparation for their move to KOMA in
Oklahoma City. As a stage band on KOMA from 1939-1941, they also performed
under other names, including The Bell Boys. Andy became a Cowboy Rambler in the
mid-’40s and has written or co-written several steel guitar tunes, including Roadside Rag and New Fort Worth Rag, the latter spotlighted here.

* * *

Bill Boyd and the Cowboy Ramblers arc consistently ranked
among the top four Western Swing recording bands by aficionados of that
performance style. Bill’s knack in surrounding himself with top flight
musicians for his recording sessions is noteworthy. The fact that an augmented
band could perform with so much cohesion, especially on instrumentals, is
amazing. Many of their instrumentals, including New Spanish Two-Step, Under
the Double Eagle and others, have sold so well over the years that Bill has
been referred to as “King of the Instrumentals.” It’s certainly in this area
that the Ramblers’ recordings achieved marked success.

The days of the Cowboy Ramblers are over. But great music
remains preserved in the grooves of their many recordings. This band cut 229 sides
during their years with RCA and it’s a tribute to their fine musicianship that
over 99%, or 227, were chosen for release.